Showing posts with label Mike Gold. Show all posts
Showing posts with label Mike Gold. Show all posts

Saturday, April 4, 2015

Episode 6: New Boots

Reviewing three issues from Black Canary's '93 ongoing series, issues #4 through #6. These issues feature the new villains: Blynde, Klik, Severance, and Jakob Whorrsman, as well as cameo appearances from Oliver Queen and Gan Nguyen.

Flowers & Fishnets is available for download on iTunes by clicking here, or you can check out the show's RSS feed by clicking right here.


Sample pages from Black Canary #4, #5, and #6.






Music this episode:
"If I Had No Loot"
Tony! Toni! Tone!
Polygram, 1993.

"The Last Living Rose"
PJ Harvey
Island Records, 2011.

CLICK HERE TO PLAY EPISODE IN ANOTHER WINDOW.

Saturday, March 21, 2015

Episode 4: Golden Oldies

A brief overview of Black Canary's Golden Age appearances in FLASH COMICS from the late 1940s. Also reviewed: Black Canary #3 (1993) and listener feedback.

Flowers & Fishnets is available for download on iTunes by clicking here, or you can check out the show's RSS feed right here.

Click here to see my review of Black Canary's first solo adventure from Flash Comics #92.
Click here to see my review of "The Mystery of the Crimson Crystal" in Flash Comics #93.
To see my other reviews of Black Canary stories from the Golden Age, use the search bar to the right or click on the tabs for Golden Age, Flash Comics, Robert Kanigher, or Carmine Infantino.

Sample pages from Black Canary #3--click to enlarge.




Music this episode:
"I've Told Every Little Star"
Linda Scott
Canadian-American Records, 1961.

"Die Young, Stay Pretty"
Blondie
Chrysalis Records, 1979.

CLICK HERE TO PLAY EPISODE IN ANOTHER WINDOW.

Saturday, March 14, 2015

Episode 3: Sister Sara and the Bus-Riding Hobo Killer

Ryan shares his thoughts about Sara Lance, the first woman to adopt the title of The Canary on the TV series ARROW. Also, a review of Black Canary #2 (1993) and listener feedback.

Flowers & Fishnets is available for download on iTunes by clicking here, or you can check out the show's RSS feed right here.

Don't forget to read ComicVine's interview with the upcoming Black Canary creative team of writer Brenden Fletcher and artist Annie Wu by clicking here.

Sample pages from Black Canary #2--click to enlarge.



Music this episode:
"My Sister"
Juliana Hatfield
Mammoth Records, 1993.


CLICK HERE TO PLAY EPISODE IN ANOTHER WINDOW.

Saturday, March 7, 2015

Episode 2: A Couple of Firsts

Reviewing the first issue of Black Canary's ongoing series from 1993 as well as her debut appearance in FLASH COMICS #86 from 1947.

Flowers & Fishnets is available for download on iTunes by clicking here, or you can check out the show's RSS feed by clicking here.

I have never reviewed Black Canary #1 on this blog, but I did previously cover the story from Flash #86, which you can see right here. The creative team of Sarah Byam and Trevor Von Eeden worked on the Black Canary miniseries "New Wings". To see my review of that series, click here for issue #1, here for issue #2, here for issue #3, and here for issue #4.

Sample pages from Black Canary #1--click to enlarge:



Music this episode:
"Who's That Chick?"
David Guetta featuring Rihanna
Virgin Records, 2010.

"Criminal"
Fiona Apple
Columbia Records, 1996.

CLICK HERE TO PLAY EPISODE IN ANOTHER WINDOW.

Thursday, July 17, 2014

Society Dame: Justice Society of America #4

Justice Society of America #3 is written by Len Strazewski with pencils by Tom Artis, inks by Frank McLaughlin  Burchett, and a cover, once again, by Tom Lyle.  The series is edited by Brian Augustyn along with Mike Gold, who edited Black Canary's miniseries, her ongoing series, and her first arc in Action Comics Weekly.  The issue is cover dated June 1991 and hit the shelves in April.

"Vengeance from the Stars Chapter 4: Evil of the Ancients" begins with archaeologist Carter Hall being led into a cave by William Wildeagle, a Native American expert in ancient tribal art found in the southwestern United States.  The power generating the lights in the cave flickers on and off as this part of the story takes place at roughly the same time as the previous two issues.

In the cave, William shows Carter some tribal wall art that dates back thousands of years and depicts animals and images created in the same style as cave paintings found throughout the world.  The two scientists speculate on what could have caused different races and cultures separated by oceans and eras to focus on the same types of mythological concepts.  Carter suggests the possibility of shared "racial memory"...


So Carter's theory suggests that giant monsters from the heavens may have terrorized prehistoric man to the point of inherited fears and superstitions being passed on throughout the ages.  He recognizes it's a crazy, not scientific idea, but William doesn't dismiss it at all.

Then the earth shakes and Carter thinks an earthquake has rocked the area but William knows that an atomic bomb has been set off nearby.  The two archaeologists don't have time to escape the blast, but thankfully, an enormous and slightly familiar figure sucks up the energy from the atomic explosion, saving their lives.


Carter realizes that the being looks like the constellation Andromeda and that its presence on earth seems to confirm his theory about the ancients.  William is less concerned with the theories than with survival.  Andromeda is heading toward a nuclear warhead depot and they need to get out of their immediately.  They drive away in William's jeep; Carter gets out at the museum while William goes to get the army for help.

In the museum, Carter puts on the Nth metal wings and mask of his heroic alter ego, Hawkman.  He also grabs an ancient spear and shield.


By the time Hawkman catches up to Andromeda, she is at the warhead depot and beating the crap out of the army and their tanks.  He tries to distract the monster, and she shoots him with lasers from her eyes.  The lasers are rebuffed by the wooden shield and he figures that while the constellation seems to absorb energy, it has a weakness to wood, just like Green Lantern.


Hawkman advises the army to build wooden battering rams to fight it while he spears Andromeda in the hand.  She lashes out savagely and knocks him around, but he regroups and grabs the chain that is linked to her arm.  He wraps her up and binds her, but Andromeda changes shape into a pegasus and bats him into the cliff face.


Andromeda/Pegasus reaches into the depot and pulls out three nuclear warheads.  The winged horse takes off into the sky with Hawkman in pursuit, but before he can get close enough to retrieve or disarm the warheads, she blasts him with her powerful beams.  The energy destabilizes his Nth metal and Hawkman begins to plummet to his death.


Thinking he's about to die, Hawkman sends out a silent declaration of love to his wife, but The Flash catches him in the nick of time.  They stumble relatively unharmed and then get up to watch the constellation monster fly away.  Now able to compare notes on their individual bouts with these monsters, Hawkman and The Flash team up.  Now we see how four solo heroes are starting to come together as one unit.

Even though I like Hawkman better than The Flash, Green Lantern, and yes, even Black Canary, this was easily the weakest of the four issues so far.  For one thing, we have seen and heard this same story four times in a row.  Carter Hall doesn't add much beyond speculation that these monsters may have visited Earth before in the ancient past, but I'm not sure how that's relevant.  Even with the immortal Vandal Savage as our primary antagonist, it sounds like he wasn't the one responsible for unleashing these monsters back in the day so I don't need that kind of backstory.

Also, the action sequences in this story aren't that spectacular and I blame a lot of that on the artist.  I don't know Tom Artis from any other book, but it looks like he recycles a lot of the same poses and shots for Hawkman within this book from page to page.  He never lets the character spread his wings; the panels are always too small and confined for Hawkman.

Anyway, this may be the low point, but now the characters are coming together so next issue ought to turn things around.

Come back Monday for the next chapter of Justice Society of America...

Wednesday, June 18, 2014

Black Canary: New Wings #4

Previously in Black Canary...


Black Canary: New Wings #4 - "Just Say Thank You" is written by Sarah Byam, with pencil art by Trevor Von Eeden and inks by Dick Giordano.  Mike Gold edited the issue with Steve Haynie providing letters and Julie Lacquement colors.  The issue is cover-dated February, 1992, but thanks to Mike's Amazing World of Comics we know the book was released on Christmas Eve 1991.

The last chapter of Black Canary's first miniseries opens with two pages advertising the situational benefits of Hercules suitcases culminating in Senator Garrenger's son's drug smugglers throwing suitcases full of cocaine overboard and bringing them into port under water.

In Gray's Harbor, where the citizenry hates everything non-whte male American, Black Canary and Gan Nguyen are threatened by neo-Nazis with guns and knives.  While one of the racists talks of slicing Gan's eyes to look less Asian/more caucasian, Canary dumps lantern fluid on a Hercules case full of money, then puts it to better use.


As Black Canary and Gan make their escape, we cut away to young Chad Brennan who finds his father, former Marine Sgt. Brennan, passed out drunk.  In disgust, Chad takes his father's truck and drives off, hoping to never return.

Canary and Gan run through the woods.  She tells him to go on without her as he's in greater danger from the racists' hatred, but he slips and falls in the river and she has to pull him out.  She changes tactics and uses Gan to draw out the gunman pursuing them.  When the baddie emerges from the trees with a rifle drawn on Gan, Black Canary knocks him in the water.


Black Canary stops Gan from killing the man, convincing him that murder won't alleviate his pain, something she knows from experience.  They leave the gunman unconscious on the bank and make their way to the highway.  There, they're picked up by Chad Brennan, who recognizes the danger an Asian man and a woman dressed like a hooker face in his neck of the woods.

Dinah has Chad and Gan drop her off at the Sandbar police station so she can try and convince the local sheriff that his town is the base for a million-dollar drug smuggling operation.  The sheriff laughs her out of his office.


Sgt. Brennan finally arrives at the Port of Sandbar where Loren Garrenger, Jr. oversees the arrival of the drug shipment.  Lorry scolds the elder Brennan for not controlling his son.  Meanwhile, the scene and the crew armed with machine-guns are observed by Black Canary.  She dives off the pier and swims to a small motorboat that she hot-wires.  She strips off her sopping wet boots and jacket and cuts her fishnets to tie around her hair.


Elsewhere, Chad Brennan drives Gan to his girlfriend's place.  His girlfriend happens to be the daughter of Wren Kole, the Native American friend of Dinah's from issue #1.  Gan, Chad, his girlfriend and Wren meet at their place on the Quinault Indian Reservation and formulate a plan.  They figure Lorry has the shipments arrive in the Quinault region because the Reservation doesn't have much of a police force.  They decide to surprise the senator's son by deputizing one and bringing in some neighboring law enforcement.

Out on the water, the smugglers are hauling in the suitcases full of coke when Dinah comes up on them in her speedboat, acting like a dumb girl who doesn't know what she's doing.  That includes piloting the boat, which she bumps into the smuggling ship and falls into the sea.

The smugglers pull her unconscious body out of the drink and bring her into the ship's hold.  One of them gets some rape-y ideas, but luckily one of the other murderous drug dealers shows some honor in that regard.


Fully awake, Black Canary slips out of her room and takes out the guard posted there.  She then sneaks into the ship's bridge and takes out the captain.

Reinforcements arrive and surround the smuggling boat.  Said reinforcements are composed of the ships from three different tribes organized by Gan and Wren.  Hoping to jump on the chance for political advancement, Senator Garrenger arrives with the Coast Guard, unaware that his own son is on board the smuggling boat.  Also, just for good measure, Gan brought the media.

Dinah knocks out Lorry.  Sgt. Brennan has no plan to go quietly and readies his gun for a shootout.


In the aftermath of Chad killing his father and the cops arresting Loren Garrenger, Jr. and the rest, Dinah and Gan meet on the pier.  They reveal that the senator was more or less ignorant and innocent of the drug deals.  The story ends with Dinah and Gan sitting together, comforting each other.

As an individual issue, this story was okay.  The art suffered a lot this time around.  I don't know if scheduling got behind or what, and I'm not sure if the fault was more penciler Trevor Von Eeden's or inker Dick Giordano, but on nearly every page are panels where entire characters are blacked out as silhouettes with no detail or definition.  Still more panels are bereft of any background detail.  Von Eeden's panel construction is also comparatively more ordered and boring in this issue than previous chapters.  I greatly enjoyed Von Eeden and Giordano's work in issues #1 and #2, but the drop off was pretty significant in the second half of the book.

The same could be said of Sarah Byam's script.  Again, I don't know how much blame could be laid at editor Mike Gold's feet, or time's, but each successive issue felt less organized and clear than the one before.  That is, until this climactic issue.  It's not confusing like issue #3 was, but it does feel rushed and kind of underwhelming.  I don't know why Black Canary and Gan had to go to Gray's Harbor and fight the white supremacists there; they spend a good chuck of this issue in that area, and it doesn't feel connected to the rest of the story.  Rather, it feels like putting a cap on a story seed that Byam planted in issue #1 but never grew.

The consequence of that is the final showdown with Sgt. Brennan on the smuggling ship is extremely rushed.  Black Canary's fight with Brennan, Chad's decision to take up a gun against his father, and the elder Brennan's death all happen on one page.  Nine panels crammed onto the second to last page.  Yes, this issue was very, very poorly paced.

It's difficult to praise this series when the stakes were so high and the execution so...meh.  I thought the first issue was great, but perhaps too ambitious.  The story and art needed to be reined in from issue to issue, and these felt clumsy most of the time.  I guess I would blame Gold for a lot of those problems, especially considering he edited Black Canary's first strip in Action Comics Weekly, "Bitter Fruit", which was a mess of conflicting concepts and characters.  He should have known better from that experience, but I guess he just repeated a lot of the same mistakes.

On the other hand, Gold did champion the character more than any other.  His appreciation for Black Canary shows in the letters columns at the end of the issue where he announces the fiscal success of "New Wings" resulting in an ongoing title for Black Canary that would kick off almost a year later.

Was "New Wings" the best Black Canary story?  No.  But it was the first that could be called Black Canary in the direct market's order forms and comic racks.  So there's that.

Wednesday, June 11, 2014

Black Canary: New Wings #3

Previously in Black Canary...


Black Canary: New Wings #3 - "Somebody's Keeper" is written by Sarah Byam, with pencil art by Trevor Von Eeden and inks by Dick Giordano.  Mike Gold edited the issue with Steve Haynie providing letters and Julie Lacquement colors.

The story opens up once again with Chad Brennan feeling the strain of his hometown Sandbar's socio-economic descent.  The men of his father's generation are poor and bitter, and blaming anything and anyone that looks different.  Chad walks out on their praise for his baseball skills when he sees a young Native American woman outside.

Meanwhile, in the back of the bar, Chad's father, former Marine Sgt. Brennan is meeting with Senator Garrenger's son, Lorry, and his aide.  The senator's man isn't thrilled that Sgt. Brennan failed to kill Gan Nguyen, a Seattle radio host who has been critical of Garrenger's administration.  Particularly, Gan has attacked the senator's "phony" war on drugs and poverty.


In addition to Gan surviving the assassination attempt, the fiasco at the drug house resulted in Drake, a high-end drug dealer escaping.  Drake knows too much about Garrenger's operation, so Lorry puts together a plan to lure Drake out of hiding and salvage their reputation.

Back in Seattle, Dinah Lance and Gan meet in Police Lieutenant Cameron's office.  Dinah tells them her theory that the shootout at the crack house was more than just drug-fueled unrest.  She thinks someone with big money and political connections was motivated to silence the dealers, Drake, and Gan, too.  Lt. Cameron thinks it's a tall tale and she'll need proof.

After the shootout, Drake escaped into the sewers.  He makes his way through dark and dank tunnels, kills some rats, and finds an exit to the city above.


Dinah and Gan leave the police station, arguing about the merits of Gan's civil protest.  She thinks his action led to the death of two people, but he asks how many more would die of drugs and other societal blights if he didn't use his voice to stand up against injustice.  Gan calls Dinah a hypocrite, considering her nighttime profession of costumed avenging.


A little later, Dinah has thrown on her work clothes, and the Black Canary returns to the scene of the crack house shootout.  She narrates the scene... but the captions don't make a whole lot of sense.  They almost seem to be out of order or they're missing something.  A problem with the lettering from one draft to the final script, perhaps?

The next day, Senator Loren Garrenger is harassing his son for his drug use and the scandal of his arrest years ago, an arrest with the rogue dealer named Drake.  The senator's aide, Boyd, calms him down, and Lorry tells his dad that he overheard the time and location of a major drug deal that could net his father a lot of good press.

Once the senator leaves, Lorry and Boyd confirm that they're sacrificing part of their own operation to give the senator a victory and to eliminate Drake.

Speaking of Drake.  As he's climbing out of the sewer, Black Canary has found him.  And Gan has caught up with Canary.  This sequence and their dialogue feels off, like there's a scene missing, which jives with the previous page of Black Canary looking into the crack house.

Anyway, Drake starts shooting up the building Dinah and Gan are hiding in.  She tells Gan to stay put while she sneaks around.  Gan shouts down to Drake about the danger of methane gas poisoning which is all around the sewage pit they're fighting in.


Oh, of course.  Black Canary slips in the mud because she's wearing heels.  Of course.

Drake jumps on Black Canary and begins to choke her.  Gan holds up a lighter and threatens to light it, which he claims will ignite the gas and kill them all.  Drake pushes Black Canary at Gan and pulls the trigger on his gun, but he's out of bullets.


Black Canary and Gan interrupt a tour of the city's tunnels and sewers by hauling Drake out.  Dinah says instead of taking their prisoner directly to Cameron's office at the police station, she's going to take him right to the docks to finger Senator Garrenger.

At the docks, the ship with the drugs is pulling into port, while Seattle's finest wait in the shadows to arrest the dealers.  Lt. Cameron is there, though he isn't too happy that the senator came along to see the operation succeed.


After Sgt. Brennan kills Drake, the police open fire on the ship.  The crew of smugglers and dealers return fire on the police, and the whole situation turns into a disaster.  As Black Canary and Gan sneak onto the ship, Brennan slips away with some scuba gear.  He meets one of his partners in the water and confesses that he still intends to murder Gan Nguyen, and now he plans to kill Black Canary, too.

Gan uses the ship's intercom to convince the crew to surrender.  When Black Canary studies the maps in the bridge, she theorizes that the crew may have already dropped off most of the drugs, and that this ambush was all a public relations set-up.  When Senator Garrenger and Lt. Cameron greet the press corps after the drug raid, Garrenger notices that Gan is not among the reporters and grows suspicious.

Black Canary and Gan follow the map to Gray's Harbor, a "summer camp for white supremacists" she calls it.  This is the last place on Earth that Gan would be safe, so Black Canary tells him to drive away if trouble starts.  She sneaks over the fence and enters the compound looking for evidence linking the racist group to the drug shipments.


A few elements of the story feel underdeveloped, and that combined with a few pages of dialogue and exposition that just don't make sense, make me feel that there was some rushed changes before the final issue went to print.  It definitely feels like Sarah Byam's story needed to be two or three pages longer, and maybe those pages were just taken out after they'd been scripted or pencilled.

Von Eeden and Giordano's artwork is mostly excellent, particularly the first shot of Black Canary (from behind, no less).  In her "hero" costume, she looks striking throughout the story, confident and dynamic, and larger than the frames allow.  She seems to be bursting out of the panels.  I wish the action choreography allowed her to show off her combat skills better in this issue, though.  She doesn't account for herself very well in the one fight she's given by slipping on garbage and nearly getting choked to death.

Come back next Wednesday for my review of the final chapter of this miniseries: Black Canary: New Wings #4.

Thursday, April 17, 2014

Black Canary: New Wings #1 - Editor's Note

At the back of Black Canary's first solo comic book, editor Mike Gold offered his thoughts on female superheroes in general and Black Canary in specific.  He describes her history and her importance as an icon, but also emphasizes that none of the best intentions or skills of the creators will mean anything if people don't buy the comic.  Female superheroes don't sell as well as male superheroes; they never had before, they still don't today, and it's hard to imagine a time when they will.  Gold flat-out tells the readers that DC has little faith in Black Canary's ability to sustain a monthly title, but that they're willing to give it a shot.

We can talk more about that in sixteen or seventeen weeks maybe.

Anyway, check out Gold's letter.  It's an interesting read.

[Unless you can read very small or have freakishly good vision, I suggest opening the images below in another window and zooming in.]